6

The basics are thus: "What are the specifications of the broadcaster you're delivering to?" You're asking us to distill a very complex process down into a "paint by numbers" process. If it were that easy, there'd be a manual that anyone could follow. I'm not trying to be mean by saying this, only trying to give you an idea of the scope of the question you'...


6

Great question! It's encouraging to see that sound people are still thinking outside the "plug ins" box. The concept of using outboard gear in an attempt to alter your source material is certainly worth pursuing, and what you would capture might indeed be something quite special and unique. I wholeheartedly recommend that you undertake the effort! Bear in ...


5

http://www.mixcoach.com/common-dae-errors-and-their-causes/ Official FAQ about troubleshooting DAE Errors: http://avid.force.com/pkb/articles/en_US/FAQ/en363439


5

The difference between clip gain and volume automation is basically INPUT volume and OUTPUT volume. Clip gain is the input volume. This data is read and taken into account before insert effects, sends, volume automation, eft. Here are two examples : if you crank up the clip gain you could potentially clip your audio. If it Wasn't clipping while you were ...


5

Even floating point numbers can clip and degrade. If I'm mixing, I prefer 64bit floats if available, but I use mostly analogue gear now .. so the mixing happens outside of the digital domain. I do have some software I wrote to automagically remix music.. the jazz-o-tron 1000. Internally it uses 80bit IEEE samples (YES, 80.. its not a typo).. but I only use ...


5

is ABSOLUTELY necessary to record at 48 kHz that's not for film where the final audio will be bounced to 44.1 format anyway? We know that at 44.1kHz we can accurately record and playback the frequencies that live in the human hearing threshold, so oversampling might seem an overkill. Most of the time this is the case, but some scenarios can benefit from ...


4

It is a constraint of the OMF format and/or the video editor it came from. One of the first things I do is move them onto stereo tracks in Pro Tools. In fact I have a set of template sessions, so I will open the most appropriate template session, then import the OMF into my template onto new tracks rather than open the OMF directly in Pro Tools. Then move up ...


4

10.8 is a very polished OS but not all of its bugs have been ironed out. 10.6.8 is the last iteration of a still very mature OS that hasn't got the latest and greatest software you most likely wouldn't need. The performance of both, regarding audio, is roughly the same. However the stability of audio software that relies on older APIs (Pro Tools and Logic ...


4

ASSUMING (and this could be a large assumption) that the Camera and Production audio have matching TimeCode and that the editor hasn't stripped it out in the AVID, you can use the Field Recorder functions of PT using match to Time Code only... You may end up with some clips that have the same timecode but it should shave hours off your workflow. Basically ...


4

It seems to me that a good choice would be a Nagra tape recorder, which was a recorder very much used starting in the 1950's until digital recording took over in the 1980's and 1990's. While this technology would be significantly better than the optical soundtrack you'd find in the 1930's, I think it would be a pretty flexible option. Since Nagras are ...


4

It kinda matters what order you put them in but everyone has a different order that they like and then sometimes you adjust for issues. Most Channel strips let you change the order of at least some of the modules. I tend to default to EQ/DYN/De-es/multiband but everyone is different. Sometimes you might need 2 of certain processes, 1 to fix an issue, ...


4

As a possible side bar to the excellent answer provided by JCPedroza above, If human ears are the only listeners (i.e., signals between 20 and 20,000 Hz) then it is never* absolutely necessary to record at 48kHz. [H]e used an SM57 whose frequency range is 40 Hz to 15 kHz so it wouldn't really make a difference because in the oversampling calculation ...


4

Route the output of each track to another empty track. Record arm the destination tracks and then hit record. When the record pass is done all your effects and automation will be "printed" to the new tracks.


3

This refers to a drive error... Make sure that you are not using a USB hard drive and that you're internal HD runs at 7200rpm. If you're internal drive is fast enough and you are not using a USB external, maybe try and repair disk permissions in disk utilities if you're using a Mac, not too sure how you do that on a PC. There are also other errors and ...


3

The way i work usually is that i open the OMF in a new session based on the template in pro tools. I separate and clean the OMF like sending all you sfx to your template sfx tracks or taking two mono tracks of the same thing and putting them on a stereo track etc... Afterwards i delete all unused tracks and i do a "save copy in" and rename the project ...


3

With Floating point all recordings are saved usually using fractional values only between -1 and +1 so like when you say -10 DB that will be related to 1.00 as zero Db. If you want to know the numerical value of -10 DB, it is like Log-1(-10 / 20), or by a calculator the answer is + or - 0.31622776. NOW, since there are no A/D converters with greater ...


3

Izotope RX is probably what you'd want. You can start with basic if your on a budget and then upgrade to advanced later. It has plugin components as well as a standalone version. It and Cedar are pretty much the standards at this point. Multiband compression/expansion or something like the Waves WNS or W43 can help for a constant noise.


3

Avid provides replacement disks from their online store. You can access it here. You could try contacting them to see if there is a download option, but it is possible they may only provide physical media for boxed copies.


3

I would apply them in order of de-esser, EQ and compressor. The first two could be done in either order, but the compressor should generally be last. You could EQ with or without the De-esser applied, but the De-esser will offer you less control over the sound than a good EQ. The compression should be last because it deals with overall signal power, which ...


3

It will only delete unused regions, meaning regions that are not used in any tracks in the edit window. So if you delete them, everything will play back as before, and you can continue editing. The only reason you wouldn't want to delete these unused regions is if you may undo the editing that created them.


3

Some delay – proper word: latency – is inevitable whenever you monitor something through software: this always requires some digital data to be passed into the software, be processed, and passed out again – on general-purpose hardware that can only be done efficiently when you pass whole chunks of samples, usually something between 64 and 4096. ...


2

It will take a little bit of work to get it to sound right for your mix, but in essence: Create a session with 5 tracks in Pro Tools. Put your L, C and R on one each. Your remaining two tracks will be for an LC bounce, and an RC bounce. Reduce the level of your C track by approx 3dB. Now, bus the L and C to LC and record, then bus R and C to RC and ...


2

There is no difference between both, it's just a way of working. I do both.


2

So you open a pre built template first and then import the omf. That's the way I would do it but I have seen a few on line tutorials open the omf first and then import the template. I was just wondering is there any advantage in doing it that way.


2

Wow.. that sucks ... Where is the assistant editor?! Are they sure they can't go through and matchframe their edit clip by clip to give you the full multitrack audio? Quite standard practice in situations where you havent decided on this audio-conforming workflow. I'm assuming you're having to go through this process because they have cut with the mix ...


2

S.H.A.F.T.E.D. For those of us who own Pro Tools and the CPTK 2, we now have to spend a huge amount of money AGAIN to re-purchase the features we have already paid $2000 for. Ludicrous. Not only that, it's also 40% more for our upgrade than anyone else will be paying, just to keep the same feature set. The reason we bought the CPTK 2 is because we can't ...


2

Mark Durham suggested I repost this as an answer ... ("... I guess that even good foley artist reacts with some delay etc.") Foley always needs to be edited. You are absolutely correct about delay time. Advancing the track 1 to 3 frames sometimes does the trick but you will still need to do internal editing ... always. Bring the volume down and play it ...


2

Using an aux track would require you to re-route the audio of each track involved into the aux, and recording automation on the aux track wouldn't affect the automation of the sub-tracks. The VCA is purely a control- and automation-based system, meaning 2 things: Assigning tracks to a VCA has no bering whatsoever on their audio input/output routing. In pro ...


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